Fernando Sofia Rosa

Son of Elisio Sofia Rosa and Marquinha Rosa, Fernando Sofia Rosa was born in Ambriz, Bengo province, and lived in Samba neighborhood in Luanda. In 1963, he joined the Ngongo Theatrical group, founded by José de Oliveira Fontes Pereira. With the group participated in a tour to Portugal, where they recorded a program for television.The recordings of Sofia Rosa, started in 1970 for the label of Valentim de Carvalho, and he was accompanied by the ensembles "Os Corvos", "Os Astros" and "Ngoma jazz".
 Sofia Rosa was one of the best creators and interpreters of music in the Kimbundu national language, translating the pulse of  poor people's life , into song. The songs of Sofia Rosa fundamentally address
 female beauty , homesickness, God, criminality, and social conflicts of the everyday life of the musseques.
He moved to Lobito in 1973. When in November 1975 the Unita forces took the town, Sofia Rosa, who had never concealed his sympathies for the MPLA, was murdered, probably by Savimbi's troups.

 A significant part of the work of Sofia Rosa was reissued on the cd "Memórias" in 2006, an edition of the program "Poeira no Quintal", of the National Radio of Angola,that brings together  his songs: "Ngala Ny Gienda", "Ngolo Binga Kuá Nzambi "" Maria Di Pambala "," Ngala Ny Nela Ya Xiquelela "," Issuma "," Kamba Uaia ", accompanied by the ensemble" Os Corvos "," Muku Tunda "and" Longo Long Logiami "with Ngoma Jazz. Finally, the recordings of "Kalumba", "Nguexile Mutunda Mu Sambila", "Kumulundo", "Imbua iolo Boza", "Makuanhadi ya mivu" and "Manhinga mami" had "Os Astros", as accompanying support.

 Memórias

monangambé

monangambé


Naquela roça grande
não tem chuva
é o suor do meu rosto
que rega as plantações;
Naquela roça grande
tem café maduro
e aquele vermelho-cereja
são gotas do meu sangue
feitas seiva.
O café vai ser torrado
pisado, torturado,
vai ficar negro,
negro da cor do contratado.
Negro da cor do contratado!
Perguntem às aves que cantam,
aos regatos de alegre serpentear
e ao vento forte do sertão:
Quem se levanta cedo?
quem vai à tonga?
Quem traz pela estrada longa
a tipóia ou o cacho de dendém?
Quem capina e em paga recebe desdém
fuba podre, peixe podre,
panos ruins, cinquenta angolares
"porrada se refilares"?
Quem?
Quem faz o milho crescer
e os laranjais florescer?
- Quem?
Quem dá dinheiro para o patrão comprar
máquinas, carros, senhoras
e cabeças de pretos para os motores?
Quem faz o branco prosperar,
ter barriga grande
- ter dinheiro?
- Quem?
E as aves que cantam,
os regatos de alegre serpentear
e o vento forte do sertão
responderão:
"Monangambééé..."

Ah! Deixem-me ao menos subir às palmeiras
Deixem-me beber maruvo
e esquecer diluído
nas minhas bebedeiras

  "Monangambéé...''

António Jacinto -Poemas, 1961

Muadiakimi/Birin Birin


quem tá gemendo

Quem tá gemendo,
Negro ou carro de boi?
Carro de boi geme quando quer,
Negro, não,
Negro geme porque apanha,
Apanha pra não gemer...

Gemido de negro é cantiga,
Gemido de negro é poema...

Gemem na minh′alma,
A alma do Congo,
Da Niger, da Guiné,
De toda África enfim...
A alma da América...
A alma Universal...

Quem tá gemendo,
negro ou carro de boi?

Solano Trindade
Poemas d'uma vida simples 1944

adeus à hora da largada

Minha mãe
(todas as mãe negras
cujos filhos partiram)
tu me ensinaste a esperar
como esperaste nas horas difíceis

Mas a vida
matou em mim essa mística esperança

Eu já não espero
sou aquele por quem se espera

Sou eu minha Mãe
a esperança somos nós
os teus filhos
partidos  para uma fé que alimenta a vida

Hoje
somos as crianças nuas das sanzalas do mato
os garotos sem escola a jogar a bola de trapos
nos areias ao meio-dia
somos nós mesmos
os contratados a queimar vidas nos cafezais
os homens negros ignorantes
que devem respeitar o homem branco
e temer o rico
somos os teus filhos
dos bairros de pretos
além aonde não chega a luz eléctrica
os homens bêbedos a cair
abandonados ao ritmo dum batuque de morte
teus filhos
com fome
com sede
com vergonha de te chamarmos Mãe
com medo de atravessar as ruas
com medo dos homens
nós mesmos

Amanha
entoaremos hinos à liberdade
quando comemorarmos
a data da abolição desta escravatura

Nós vamos em busca de luz
os teus filhos Mãe
(todas as mães negras
cujos filhos partiram)
vão em busca de vida.

António Agostinho Neto 

Poema da Farra/Makesu

muimbo ua sabalu

Mon'etu ua kassule
Akutumissa ku San Tomé
Mon'etu ua kassule
Ua kutumissa ku San Tomé

Kuexirié ni ma documentu
Aiué, aiué
Kuexirié ni ma documentu
Aiué, aiué

Mon'etu ua ririlé
Mama ua sanukilé
Mon'etu ua ririlé
Mama ua sanukilé

Aiué, aiué
akutumissa ku San Tomé
Aiué, aiué
akutumissa ku San Tomé

Mon'etu ua kassule
akutumissa ku San Tomé
Mon'etu ua kassule
akutumissa ku San Tomé

Kuexirié ni ma documentu
Aiué, aiué
Kuexirié ni ma documentu
Aiué, aiué

Mon'etu uai kia
Uai imu pulaia
Mon'etu uai kia
Uai imu pulaia

Aiué, aiué
akutumissa ku San Tomé
Aiué, aiué
akutumissa ku San Tomé

Mon'etu ua kassule
akutumissa ku San Tomé
Mon'etu ua kassule
akutumissa ku San Tomé

Kuexirié ni ma documentu
Aiué, aiué
Kuexirié ni ma documentu
Aiué, aiué

Mon'etu ua dirilé
Mama ua salukilé
Mon'etu ua dirilé
Mama ua salukilé

Aiué, aiué
akutumissa ku San Tomé
Aiué, aiué
akutumissa ku San Tomé

Mon'etu ua kassule
akutumissa ku San Tomé
Mon'etu ua kassule
akutumissa ku San Tomé

Kuexidié ni ma documentu
Aiué, aiué
Kuexidié ni ma documentu
Aiué, aiué

Mon'etu uai kia
Uai imu pulaia
Mon'etu uai kia
Uai imu pulaia

Aiué, aiué
Ua kutumissa ku San Tomé
Aiué, aiué
Ua kutumissa ku San Tomé
Aiué, aiué
Ua kutumissa ku San Tomé
Aiué, aiué
Ua kutumissa ku San Tomé
Aiué, aiué, aiué
Ua kutumissa ku San Tomé
-----
(Nosso filho caçula
Mandaram-no pra S. Tomé
Não tinha documentos
Aiué!
(Nosso filho chorou
Mamã enlouqueceu
Aiué!

Mandaram-no pra S. Tomé
Nosso filho partiu
Partiu no porão deles
Aiué!

Mandaram-no pra S. Tomé
Cortaram-lhe os cabelos
Não puderam amarrá-lo
Aiué!

Mandaram-no pra S. Tomé
Nosso filho está a pensar
Na sua terra, na sua casa
Mandaram-no trabalhar
Estão a mirá-lo, a mirá-lo
—Mamã, ele há-de voltar
Ah! A nossa sorte há-de virar
Aiué!

Mandaram-no pra S. Tomé
Nosso filho não voltou
A morte levou-o
Aiué!)

Mário Pinto de Andrade

Carlos Lamartine

Histórias da Casa Velha is a collection of songs released in Angola,
mainly during the years leading to independence in 1975.
In the 1960s and 1970s, Carlos Lamartine was one of the leading voices
 in the struggle against the Portuguese and this collection highlights the difficulties and victories of the liberation movements he was a part of.
This collection reflects the originality and rhythmic diversity of Angolan music,
as well as its social and political roots in pre-independence Angola. Behind every one
of these songs, there is a tragedy, and the tacit acceptance of a troubled history.
 But beyond traditional fatalism, these songs also display hope and Angola's then continuous fight
 for freedom.

a gift from Angola

In the mid 1950s, the band Ngola Ritmos performed at the Teatro Nacional (National Theater) in Luanda’s baixa.  The venue’s name referred, of course, to the Portuguese that nation embraced Angola as an overseas territory.  This was not custodial colonialism but fierce possession dressed up in lusotropicalist discourse.  Angolan ‘folklore,’ which Ngola Ritmos represented, served to encapsulate and perform difference, making quaint what was potentially explosive cultural difference.  The Portuguese nation would subsume Angolan specificity in a demonstration of the Portuguese skill at adapting to the tropics.  Yet when Ngola Ritmos sang that night at the Teatro Nacional the emcee re-inscribed the divide between musseque and baixa, African and Portuguese, thus disrobing the lusotropicalist fantasy. 

continue....

1-Ngola Ritmos - Muxima
2-Ngola Ritmos - Django Ué
3-San Salvador - Enzol’eyaya
4 -Kaboko Meu - Na rua de São Paulo
5-União Mundo - Amanhã vamos à procura da chave
6-Mestre Geraldo Morgado - Mini saia
7-Minguito - Sant’Ana
8-Ngola Ritmos - Nzage
9-Duo Ouro Negro - Kurikutela
10-Sara Chaves - Kurikuté
11-Elias Dia Kimuezo - Ressurrreição
12-Lilly Tchumba - Paxi Ngongo
13-Gingas - Lamento
14-Luís Visconde - Chofer de Praça
15-Quinteto Angolano - Kupassiala Kua Aba
16-Dimba Dya Ngola - Fixe
17-Os Kiezos - Rumba 70
18-Vum Vum - Muzangola
19- José Viola - Oholwa
20-Ruy Mingas - Monangambé
21-Teta Lando - Mumpiozzo Ame

1956-1970


*

Hamdun Habeet

 Hamdun Habeet comes from Yemen and was known to me from the same pile of yemeni  tapes
as  Fadal al Kareedi
a master  oud  player and a passionate singer
and yet another revelation.
no information whatsoever -and if you know anything more please share it with us-
but for now it is the music that matters above all.
thanks to mushmir

min ilmi imzahan

A donso alone

a wonderful donso ngoni recording

with Samba Traore at the controls  from  the distant 1999

bare and essential

*****

Mankunku forever

Geirge & I

Molo Africa


and before


*

Matemai Mbira Group

 

 

*****

more

Cheikha Tetma

Cheikha Tetma

Cheikha Tetma, la diva rebelle du hawzi

Ecole de Tlemcen 


thank you Mi

 

la grande vedette Malienne

 

  

 accompagnée à la cora par Batourou Sékou Kouyate

 

*

 

Ambassels (12+1)

 

12

 Ambassels

1- Alemayehu Fantaye & Yohannes Afework-Ambassel

2- Tigist Assefa-Ambassel

3-Unknown Amhara Musician Recorded  in Dessie-Ambassel

4-Admassou Abate-Ambassel

5-Esubalew Adugna-Ambassel

6-Betsat Seyoum & Abbebe Fekade-Ambassel

7- Alemayehu Fantaye &Yohannes Afework-Ambassel

8-Endeshaw Kelemwork & Etenesh Wassie-Ambassel

9-Alemayehu Eshete with Alèm Girma Band,Amha Eshete & Girma Béyéné-Ambassel

10-Gétatchèw Mèkurya-Ambassel

11-Maritu Legesse-Ambassel

12-Girma Yifrashewa-Ambassel

 plus

 Etenesh Wassie -Ambassel

...

<+>

Ambassel

Ambassel                                                                                                                                         Tezeta

Democratie!

Tartit -Democratie!

and Amazagh 

version

M'Bube

Mbube:
a rich a cappella male choral approach usually sung in Zulu,appeared in the early 20th century as "Ingoni Ebusuku," meaning "night music."The similarity between early mbube and pre-quartet African-American gospel (jubilee) is astonishing,as are the vocalists' range,soaring harmonies,smashing leads, and swirling accompaniment.
Popular with Zulu and Swazi laborers,forged throughout the last century a strong working class identity. In 1938 one of the Ingoni Ebusuku groups,Solomon Linda's Original Evening Birds,recorded a song called "Mbube" (the lion,based on the tale of the return of Shaka), which became a model for the international hit "Wimoweh"(the Lion Sleeps Tonight),and since then this music has become known as Mbube.

"Although generally recognized as one of the most advanced forms of Zulu musical expressions,
mbube incorporates a rich texture of Western,Afro-American,traditional and modern stylistic sources. Reflecting upon the experience and struggles of migrant workers, mbube performers modeled these diverse idioms into a unique expression of Zulu working class identity.
The pre-history of mbube starts in the second half of the 19th century when American minstrel shows had become by far the most popular form of stage entertainment in the urban centers. For black audiences however,no visiting minstrel troupe created a deeper impression than Orpheus McAdoo's Minstrel Vaudeville and Concert Company. Between 1890 and 1898,McAdoo,one of the first noted Afro-Americans to visit S.A., made two phenomenally successful tours of the country that lasted for more than five years.
By the turn of the century in the wake of McAdoo's tours,minstrels had reached even remote rural areas, where mission school graduates formed troupes modeled on either McAdoo's company or on the numerous white blackface troupes and adopted names as AmaNigel Coons,Pirate Coons or Yellow Coons".....

from the record notes



A1- The Bantu Glee Singers - Jim Takata Kanjani
A2-Crocodiles - Hewu! Kwaqaqamba Amthambo
A3-Fear no Harm Choir-Ina Ma Wala
A4-African Zulu Male Voice Choir- Kuyekeleni Kukule
A5-Solomon Linda's Original Evening Birds - Mbube
A6- Solomon Linda and Evening Birds-Ngazula Emagumeni
A7- Solomon Linda and Evening Birds - Anoku Gonda
A8- Shooting Stars - Yek' Emarabini
B1-Morning Light Choir-Izindaba Ezinkulu Zxika"Kawa"
B2-Dundee Wandering Singers- Hamba Stutubaker
B3-Natal Champions-Ngi-e Kaya
B4- Crocodiles- Asigoduke
B5-Durban Crocodiles- Akasangibhaleli
B6-Scorpions- Cothoza-Mfana
B7-King Star Brothers- Mus' Ukuqubada
B8-Ladysmith Black Mambazo -Umama Lo

 shellacs to vinyl

Mbube Roots

In the 1920s, as an industrial economy began to develop in Natal (KwaZulu/Natal),a cappella vocal styles became closely identified with the emerging Zulu working class,
newly forged as rural migrants found employment in mines and factories. Forced in most cases to leave their families behind and live in all-male hostels, they developed a weekend social life based on vocal and dance group competitions, staged within and between hostels, and judged by elaborate rules and standards. By the late 1930s, a cappella competitions were a characteristic of Zulu hostels throughout industrial Natal and had also spread to Zulus working in Johannesburg.
Black workers were taken by rail to work far away from their homes and their families. Poorly housed, paid worse, and working a six-day week, they would entertain themselves by singing songs into the wee hours of Sunday morning. They called themselves Cothoza Mfana,”tip toe guys,” referring to the dance steps choreographed so as to not disturb the camp security guards. When the miners returned to their homelands, the tradition returned with them.There began a fierce, but social, competition held regularly that became a highlight of everyone’s social calendar.


A1-N.K.A.Special-HAMBA NJALO
A2-Durban High Stars-AWUNGANGI DLULI JESU
A3-Easy Wakers-Oh yes is coming
A4-Greytown Evening Birds-NISIBONA SILAPHA SIPHUMA SIPHUMA KUDE
B1-Rovers-WATHINTHA THINA
B2-Harding Morning Stars-ITHEMBA LAMI
B3-Mtalume Young Ages-HAMBA HAMBA
B4-Mkhizwane Home Stars-SANIBONANI
B5-Jabula Home Defenders-OBABA BAFUN IMALI

HAMBA HAMBA NJALO
BALEKA WENA MFO WETHU
KAD'AHAMBA
HAMBA HAMBA NJALO
GOB'IKHAYA LAKHO
ALIKHO LAPHA LISE MTHALENI
BALEKA WENA MFO WETHU

Run,my brother
and go your own way
Your home is not here in the city.
Your home is
as far away as the stars
Run my brother.

a live recording at the Dalton Road Hostel-Durban S.A. - 1984

Mbube Competition

The Caravan

Terakaft (meaning "caravan" in Tamasheq) is a genuine desert rock band, sculpted by the pure searing air and the endless rolling sands of the Sahara.

The stark, harsh conditions of the Sahara have permeated their wild riffs, and as a result Terakaft are the perfect embodiment of all that is wild and free in desert blues today. They have taken the electric guitar and made it their own.
Terakaft was formed in 2001 by Sanou Ag Ahmed, then based in Kidal, Mali with Kedou Ag Ossad. Kedou was a member of the original line-up of Tinariwen (four of Kedou’s compositions are embodied on their first international release "The Radio Tisdas Sessions").
Liya Ag Ablil (aka Diara), Sanou’s uncle, joined the band in 2006. Diara was also an original member of Tinariwen and was known for his fierce and passionate style of rock’n’roll guitar playing. He played with Tinariwen for almost 20 years, but stepped back just before Tinariwen started touring internationally. He’s still a close friend of Ibrahim "Abaraybone" Ag Alhabib, and played on Tinariwen’s last album "Imidiwan : Companions" (as did Sanou and Abdallah of Terakaft).
Terakaft recorded their first studio album "Bismilla, The Bko Sessions" in four days at the legendary Bogolan Studios in Bamako, Mali.

the Bko sessions

In a Bamako courtyard around 98, I heard a half whispered song on a broken guitar which entranced me. It led me, Philippe Brix and a few others to the Sahara desert to find where this music came from. Tuareg guitar - a looping groove, melancholy tune, a simplicity and a profundity - that called to mind the masters of the Delta, the spirit and defiance of the early Wailers, with a desert flavour between Gnawa trance and Ali Farka's serpentine swing. Tinariwen was a loose collective of originators, among them Diara, the master of the Saharan rhythm guitar. Together with Sanou, an archetypal Saharan cowboy, with Wah Wah Watson sideboards and full Rock and Roll attitude, they became Terakaft, guardians of the original Tuareg guitar.
 Justin Adams

Another Spear Day

it was tempting  to present another compilation in the same vein
[to melt some snows there and bring Spring closer]
this was a warm week of work ,fun,memories and rediscoveries
the result is here,sure I enjoyed greatly doing it ,hope you will too while listening

1-Thione Seck-Momy.
2-Hadja Kouyaté-Kelenko
3-Bougouniere Diarra Sanogo-Pinia Mi You
4-Hedzoleh Soundz-Hearts Ne Kotoko
5-The Don Isaac Ezekiel Combination-Amalinja.
6-Bwazan-An Ka Foli Ke.
7-Massaran Tènin Kouyaté -Fourou
8-Le Simandou de Beyla -Festival
9-Terakaft-Aпma Ymaпma
10-Orchestre Poly-Rythmo De Cotonou- Karateka
11-Thomas Mapfumo-Hwahwa (Beer Barrel Polka)
12-Mbaraka Mwinshehe & The Morogoro Jazz Band - Sululu Ya Moro
13-Kaniba Oule Kouyaté-Kouilounikou
14-Ensemble Lyrique Traditionnel & Moussa Ngom-Senegambia
15- International Orchestra Safari Sound - Homa Imenizidia
16-Ouza et Le Nobel-Diriyankee
17-Dumisani Maraire-Yuwi Maiwe

Spear Another Day

+ the one left out :
L'Orchestre Kanaga de Mopti-N'do N'do


*

a Spear Day

that was a necessary rehab ,oh well ...
for  now ,music that the world must listen without another delay :)
Classic tracks to celebrate everything nice that  life is offering us
[constantly and abundantly]....enjoy


01-Binta Laly Sow-Super laly
02-Bonga -Dia kandumba
03-Vijana Jazz Band- Ujirani Mwema 
04-Jeff Louna-Paulina Mineure
05-Mamou Sidibé- Musoya
06-Myrian Makenwa - Amampondo.
07-Armand Pascal Lido & L'Ivoiro Star-Dogbo Zo N'Wene
08 -Captain Yaba- Tedose
09 -Sadio Sidibé- Soninko
10-Moussa Ngom-Bakann Bi
11-Babani Kone -Badoua Den
12-Totó La Momposina & Djanka Diabate -Mami Wata
13-Ebo Taylor-Maye omama
14-Zaida Chongo-Miela Ncata
15-Tchinina-Canga Té
16-Lia De Itamaraca - Nagô, Nagô
17-Super Diamono de Dakar-Faleme
18-Baaba Maal-Baaba


Spear a Day

+ the one that didn't make it to the file

Baaba Maal-Seydou Nourou Ba